Juliana Dresvina is a member of the History Faculty at the University of Oxford, UK. Educated in Moscow, Oxford and Cambridge in history, theology and English she has worked at Cambridge and King’s College London as a medievalist historian, taught English at Queen Mary University London, Reading, Oxford and Winchester, and has held postdoctoral positions in art history in London and Paris.

• Notes on ContributorsList of FiguresIntroduction1. Part I: Secretaries and Editors2. M.E. Fitzgerald: Office Manager to Modernism, Catherine Hollis, U.C. Berkeley, USA3. The Secretary and Her Professor: Alli Hytti and L. A. Puntila, Anu Lahtinen, University of Helsinki, Finland4. Jumped-up Typists: Two Guardians of the Flame, Karen Christensen, Independent scholar5. Thanks for Penguin: Women, Invisible Labour, and Publishing in the Mid-Twentieth Century, Rebecca E. Lyons, University of Bristol, UKPart II: Politicians and Activists6. Backing the Family: Servilia Between the Murder of Caesar and the Battle of Philippi, Susan Treggiari, Stanford University, USA7. A Flaming Soul: Maissi Erkko Fighting for Women, Finland and Family Legacy, Reetta Hanninen, University of Helsinki, Finland8. Student, Diplomat, Wife, traveller ? A Transnational Life of Marie Sargant-Cerný, Hana Navratilova, Independent scholar9. Breaking the Silence and Inspiring Activism on Japanese Military Sexual Slavery: Legacy of Kim Hak-soon (1924-1997), Woohee Kim, Harvard University, USAPart III: Artists and Painters10. Jeanne de Montbaston: An Illuminating Woman, Melek Karatas, King's College London, UK11. Judith Leyster: The Artist Vanishes, Irene Kukota, Curator, France12. Textiles Rubbing Us the Wrong Way: A Tour of Karin Bergöö Larsson’s Acts of Fibre Resistance, Godelinde Gertrude Perk, University of Oxford, UK13. Canvases in the Attic: Four Generations of the Lane Poole women, Juliana Dresvina, University of Oxford, UKPart IV: Mothers and Others14. Haunting Augustine: St Monnica as Mother and Interlocutor, Patricia L. Grosse, Finlandia University, USA15. “The Typist Home at Teatime”: Vivienne Haigh-Wood Eliot’s Role in Shaping T.S. Eliot’s The Waste Land (1922), Arwa F. Al-Mubaddel, King Saud University, Riyadh16. Edith Tolkien in the Eye of the Beholder, Maria Artamonova, Oxford University, UK17. “Why Aren’t There More Women in Your Books?” Ann and William Golding, Nicola Presley, Bath Spa University, UK18. “You’ll Say that Mum is at the Bottom of All This”: the Untold Story of Eva Larkin, Philip Pullen, WriterPart V: Poets and Writers19. “Murder, He Wrote”: Elizabeth Barrett and Robert Browning, Julia Bolton Holloway, Independent Scholar20. Golden Myfanwy: The Domestic Goddess Who Turned the Screw, Eleanor Knight, Writer21. Double Act: U.A. Fanthorpe and R.V. Bailey, Partners in Rhyme, Elizabeth Sandie, University of York St John, UKEpilogueBibliographyIndex

‘There are very few books that can claim to address genuinely universal phenomena, and Thanks for Typing is one of this small class. Its canvas stretches from the classical world, via the medieval and early modern, to our own, and from Japan and Korea and North Africa, via the Russian Empire and Western Europe, to the United States – because in all these times and places the visible work of men was made possible by the invisible labour of women. Thanks for Typing makes such engagement possible for a range of readerships, and on a truly impressive scale.’

Juliana Dresvina is a member of the History Faculty at the University of Oxford, UK. Educated in Moscow, Oxford and Cambridge in history, theology and English she has worked at Cambridge and King’s College London as a medievalist historian, taught English at Queen Mary University London, Reading, Oxford and Winchester, and has held postdoctoral positions in art history in London and Paris.

• Notes on ContributorsList of FiguresIntroduction1. Part I: Secretaries and Editors2. M.E. Fitzgerald: Office Manager to Modernism, Catherine Hollis, U.C. Berkeley, USA3. The Secretary and Her Professor: Alli Hytti and L. A. Puntila, Anu Lahtinen, University of Helsinki, Finland4. Jumped-up Typists: Two Guardians of the Flame, Karen Christensen, Independent scholar5. Thanks for Penguin: Women, Invisible Labour, and Publishing in the Mid-Twentieth Century, Rebecca E. Lyons, University of Bristol, UKPart II: Politicians and Activists6. Backing the Family: Servilia Between the Murder of Caesar and the Battle of Philippi, Susan Treggiari, Stanford University, USA7. A Flaming Soul: Maissi Erkko Fighting for Women, Finland and Family Legacy, Reetta Hanninen, University of Helsinki, Finland8. Student, Diplomat, Wife, traveller ? A Transnational Life of Marie Sargant-Cerný, Hana Navratilova, Independent scholar9. Breaking the Silence and Inspiring Activism on Japanese Military Sexual Slavery: Legacy of Kim Hak-soon (1924-1997), Woohee Kim, Harvard University, USAPart III: Artists and Painters10. Jeanne de Montbaston: An Illuminating Woman, Melek Karatas, King's College London, UK11. Judith Leyster: The Artist Vanishes, Irene Kukota, Curator, France12. Textiles Rubbing Us the Wrong Way: A Tour of Karin Bergöö Larsson’s Acts of Fibre Resistance, Godelinde Gertrude Perk, University of Oxford, UK13. Canvases in the Attic: Four Generations of the Lane Poole women, Juliana Dresvina, University of Oxford, UKPart IV: Mothers and Others14. Haunting Augustine: St Monnica as Mother and Interlocutor, Patricia L. Grosse, Finlandia University, USA15. “The Typist Home at Teatime”: Vivienne Haigh-Wood Eliot’s Role in Shaping T.S. Eliot’s The Waste Land (1922), Arwa F. Al-Mubaddel, King Saud University, Riyadh16. Edith Tolkien in the Eye of the Beholder, Maria Artamonova, Oxford University, UK17. “Why Aren’t There More Women in Your Books?” Ann and William Golding, Nicola Presley, Bath Spa University, UK18. “You’ll Say that Mum is at the Bottom of All This”: the Untold Story of Eva Larkin, Philip Pullen, WriterPart V: Poets and Writers19. “Murder, He Wrote”: Elizabeth Barrett and Robert Browning, Julia Bolton Holloway, Independent Scholar20. Golden Myfanwy: The Domestic Goddess Who Turned the Screw, Eleanor Knight, Writer21. Double Act: U.A. Fanthorpe and R.V. Bailey, Partners in Rhyme, Elizabeth Sandie, University of York St John, UKEpilogueBibliographyIndex

‘There are very few books that can claim to address genuinely universal phenomena, and Thanks for Typing is one of this small class. Its canvas stretches from the classical world, via the medieval and early modern, to our own, and from Japan and Korea and North Africa, via the Russian Empire and Western Europe, to the United States – because in all these times and places the visible work of men was made possible by the invisible labour of women. Thanks for Typing makes such engagement possible for a range of readerships, and on a truly impressive scale.’

Juliana Dresvina is a member of the History Faculty at the University of Oxford, UK. Educated in Moscow, Oxford and Cambridge in history, theology and English she has worked at Cambridge and King’s College London as a medievalist historian, taught English at Queen Mary University London, Reading, Oxford and Winchester, and has held postdoctoral positions in art history in London and Paris.

• Notes on ContributorsList of FiguresIntroduction1. Part I: Secretaries and Editors2. M.E. Fitzgerald: Office Manager to Modernism, Catherine Hollis, U.C. Berkeley, USA3. The Secretary and Her Professor: Alli Hytti and L. A. Puntila, Anu Lahtinen, University of Helsinki, Finland4. Jumped-up Typists: Two Guardians of the Flame, Karen Christensen, Independent scholar5. Thanks for Penguin: Women, Invisible Labour, and Publishing in the Mid-Twentieth Century, Rebecca E. Lyons, University of Bristol, UKPart II: Politicians and Activists6. Backing the Family: Servilia Between the Murder of Caesar and the Battle of Philippi, Susan Treggiari, Stanford University, USA7. A Flaming Soul: Maissi Erkko Fighting for Women, Finland and Family Legacy, Reetta Hanninen, University of Helsinki, Finland8. Student, Diplomat, Wife, traveller ? A Transnational Life of Marie Sargant-Cerný, Hana Navratilova, Independent scholar9. Breaking the Silence and Inspiring Activism on Japanese Military Sexual Slavery: Legacy of Kim Hak-soon (1924-1997), Woohee Kim, Harvard University, USAPart III: Artists and Painters10. Jeanne de Montbaston: An Illuminating Woman, Melek Karatas, King's College London, UK11. Judith Leyster: The Artist Vanishes, Irene Kukota, Curator, France12. Textiles Rubbing Us the Wrong Way: A Tour of Karin Bergöö Larsson’s Acts of Fibre Resistance, Godelinde Gertrude Perk, University of Oxford, UK13. Canvases in the Attic: Four Generations of the Lane Poole women, Juliana Dresvina, University of Oxford, UKPart IV: Mothers and Others14. Haunting Augustine: St Monnica as Mother and Interlocutor, Patricia L. Grosse, Finlandia University, USA15. “The Typist Home at Teatime”: Vivienne Haigh-Wood Eliot’s Role in Shaping T.S. Eliot’s The Waste Land (1922), Arwa F. Al-Mubaddel, King Saud University, Riyadh16. Edith Tolkien in the Eye of the Beholder, Maria Artamonova, Oxford University, UK17. “Why Aren’t There More Women in Your Books?” Ann and William Golding, Nicola Presley, Bath Spa University, UK18. “You’ll Say that Mum is at the Bottom of All This”: the Untold Story of Eva Larkin, Philip Pullen, WriterPart V: Poets and Writers19. “Murder, He Wrote”: Elizabeth Barrett and Robert Browning, Julia Bolton Holloway, Independent Scholar20. Golden Myfanwy: The Domestic Goddess Who Turned the Screw, Eleanor Knight, Writer21. Double Act: U.A. Fanthorpe and R.V. Bailey, Partners in Rhyme, Elizabeth Sandie, University of York St John, UKEpilogueBibliographyIndex

‘There are very few books that can claim to address genuinely universal phenomena, and Thanks for Typing is one of this small class. Its canvas stretches from the classical world, via the medieval and early modern, to our own, and from Japan and Korea and North Africa, via the Russian Empire and Western Europe, to the United States – because in all these times and places the visible work of men was made possible by the invisible labour of women. Thanks for Typing makes such engagement possible for a range of readerships, and on a truly impressive scale.’